A Journey Through the History of Tuners with Famous Brands

Tuning an instrument is the first thing you learn when you start playing any instrument, and it is essential to playing.

While there are instruments, such as the piano, where the player does not perform the tuning, ensuring that the notes are in perfect pitch is fundamental to any instrument.

With so many different instruments, a wide variety of tuning methods exist, and corresponding equipment and techniques have been used throughout history.

Before discussing electric guitar tuners, let’s briefly touch on the origins of the peg.

Originally, a “peg” (a stake or fastener) was a cylindrical piece of wood onto which a string was wound and inserted into another piece of wood, using friction to secure the string. Instruments like the violin still use this method today.

In the world of electric guitars, while the term “peg” is commonly understood in Japan, it is often not recognized overseas.

The advent of metal strings led to the evolution of all musical instruments. This marked a major turning point even in the world of the guitar, where gut strings had previously been the norm.

Although originally used with gut strings, worm gear tuners were employed to withstand even higher tensions, and they continued to evolve in various ways depending on the strings and instruments.

Johann Georg Stauffer is famous as the forefather of guitar makers. Christian Frederick Martin, who trained for 14 years in Stauffer’s Vienna workshop, founded the Martin Company. After moving to the United States, the company adapted to the changing musical landscape and the evolution of instruments, eventually making steel-string guitars its standard. This is how the current association of “Martin with steel strings” and “Martin Company with acoustic guitars” came to be.

Martin also produced various worm-gear tuners. (Incidentally, while the exact inventor of the worm gear is unclear, it is attributed to both Archimedes and Leonardo da Vinci.)

A tuner used by Martin in 1834

1950 Fender Broadcaster

It was around 1946 that John Kluson developed a tuner that enclosed the worm gear within a metal cover. Later, in 1950, the “Broadcaster”—considered the first solid-body electric guitar—was unveiled at the NAMM Show in Chicago, and it featured Kluson tuners.

Kluson was a manufacturer founded in Chicago in 1925. As mentioned above, at a time when most tuners had exposed gears, the “Kluson Deluxe” tuners—which were sold with covers—took the world by storm. The history of the electric guitar cannot be told without mentioning Kluson tuners.

When it comes to electric guitars, Fender and Gibson are the main names, but both used Kluson tuners on their very first models.

Let’s digress a bit here: when it comes to electric guitar tuners, Grover is also a well-known name. Grover is a company associated with A.D. Grover & Son, founded by Albert Deane Grover.

Their famous tuner is the “102,” which features a fully sealed gear mechanism that ensures stable operation unaffected by external dirt or dust. Additionally, the tuner’s robust housing protects the shaft, helping to prevent excessive deformation caused by impact.

Born in 1865, Albert Deane Grover was a banjo player who also manufactured banjo tuners and reportedly held over 50 patents.
Although the company itself was acquired by Grossman in 1952, the Grover name has remained in use ever since.

When it comes to Fender’s first solid-body guitar, the Broadcaster comes to mind. However, since Gretsch held the trademark for the name “Broadcaster,” Fender was forced to change the name and adopted “Telecaster” instead.

During the transition period from the Broadcaster to the Telecaster, guitars that were shipped with the "Broadcaster" name sanded off were called "No-casters."

In fact, our store has received a prototype of the No-Caster—an instrument that is rare enough as it is—and it is truly a miraculous specimen.

Early 1950s (Kluson Deluxe)

A model featuring the words " KLUSON DELUXE " engraved in a single row on the cover (commonly known as the "Single-Row Kluson").

Although this "Single-Row Kluson" design is also found on models from around 1956 onward, a major difference is that on the very earliest models, the tip of the shaft does not penetrate the cover that encloses the gear.

The set screw is a flathead screw.

Photo of the back of a Broadcaster's tuning peg

Mid-1950s toaround 1952 (Kluson Deluxe)

It is commonly referred to as the "Non-Line" because there is no engraving on the gear cover.

Like the earliest models, the tip of the shaft does not penetrate the cover that encloses the gear.

The set screw is a flat-head screw.

Mid-1952 toaround 1956 (Crewson Deluxe)

Like the earlier models, this is a "No-Line" version with no engraving on the gear cover.

A change in this model is that the shaft now passes through the gear cover.

The set screw is a flathead screw.

Back of the headstock on a 1952 Telecaster

Late1956–Late 1963 (Kluson Deluxe)

The gear cover is engraved with " KLUSON DELUXE " in a single row (commonly known as the Single-Line Kluson).

The shaft passes through the gear cover.

The set screw was changed to a Phillips screw.

Back of the headstock on a 1960 Telecaster

Late1963–circa 1967 (Kluson Deluxe)

" KLUSON DELUXE " is engraved in two lines on the gear cover (commonly known as: Double-Line Kluson).

The shaft passes through the gear cover.

The set screw is a Phillips screw.

Back of the headstock on a 1966 Stratocaster

The back of the headstock on a 1966–1967 Jazzmaster

Back of the headstock on a 1970 All-Rose Telecaster

Back of the headstock on a 1976 Stratocaster

As for tuners , in 1966 they introduced the “M6,” a machine head with the gears completely enclosed within the housing. Among the many manufacturers using these pegs were famous names like Ovation, Gibson, and Martin, and by around 1976, Fender had joined their ranks.

In 1977, they co-developed the double-locking system introduced by Floyd Rose, and as soon as it hit the market in 1980, guitarists everywhere were captivated by it.

In 1981, they developed the "Lock Pin," a system that securely connects the guitar to the strap and prevents it from coming loose easily. To this day, it remains the most popular locking mechanism for securing a strap to a guitar.

The relationship with Schaller continued into the 1980s; while Schaller tuners were still used, Fender began producing its own custom-order tuners.

"WEST GERMANY" Stamped

Gibson’s solid-body electric guitar was released in 1952, later than Fender’s. Since Gibson was a manufacturer with a long history in instrument making, the release of its solid-body electric guitar reflected a strong competitive spirit toward Fender.

Gibson’s first solid-body electric guitar was named the Les Paul. Noticing the popularity of Les Paul & Mary Ford, who were dominating the charts at the time, Gibson signed a contract with Les around 1950 stipulating that he would use only the Les Paul in public performances.

Since Les had previously made proposals to Gibson regarding solid-body electric guitars, the model was heavily influenced by his ideas. There are accounts suggesting that the curved top of the Les Paul was designed to demonstrate a point of difference, as Fender did not have wood-carving machines at the time. The trapeze tailpiece and the gold-top finish were also Les’s ideas.

Les Paul & Mary Ford

The Gibson factory, built in 1909

Gibson began with Orville Henry Gibson, who had been producing mandolins and guitars on a small scale in Kalamazoo, Michigan, since the 1880s.Subsequently, The Mandolin-Guitar Manufacturing Company, Inc. was establishedin Kalamazoo on October11,1902. The company grew rapidly, acquiring new land in 1909and expanding five times until the Kalamazoo factory closed in 1984, eventually growing into a massive factory spanning over 120,000 square feet.It is a well-known fact that the company has grown into a manufacturer so prominent that virtually no one involved in music is unfamiliar with Gibson.

Given its background in mandolin manufacturing, Gibson possesses specialized knowledge regarding tuners. Here, we will explain what kind of tuning pegs Gibson adopted for electric guitars.

1952 (when the Les Paul was released): The model featured was the Kluson “ 320VP.” These were traditional 3-in-3 tuners with gear covers, and they did not bear the “ Klusen Deluxe ” logo.

This model features tuning knobs made of resin. Because there is only one knob at the base of the knob, it is also called the “ Single-Knob Kluson.”

1954 (When the Les Paul Custom was released) Following the strong sales of the Les Paul, the Les Paul Custom was released as a higher-end model. The tuners installed on the Les Paul Custom were, once again, Kluson’s “ 501VP.” While the resin knobs were the same, the cover over the gears was made of metal with vertical lines, and due to its appearance, this tuner is also known as the "Waffle Peg."

Circa 1958–1961 (until production ended) During this period, the Les Paul Custom was equipped with Grover ’s “102G.” Grover ’s flagship “102 ” housing tuner helped establish an image as a “high-end peg” by being used in Gibson’s high-end models.

A distinctive feature is the " PAT.PEND.U.S.A. " inscription on the metal cover.

Fromaround 1958 onward, although they were similarly Kluson “ 320VP ” tuners, the resin used for the knobs was prone to severe aging, leading vintage enthusiasts to call them “shrink pegs.”

In particular, the tuners used in 1959 suffer from severe shrinkage, and many examples can be found that have crumbled to pieces. This is also a “single-knob Kluson.”

In fact, around 1960, the single-cut Les Paul design as we knew it disappeared from the market. Did something happen to the guitars that had been selling so well at the time?

According to accounts from that time, while the higher-priced Les Pauls were selling satisfactorily, sales of the more affordable Junior model had reached an all-time high in 1959.

According to Ted McCarty, “After promoting the Junior model for a while, the sales department started pressuring me to create a new, modern guitar that was different from anything we’d made before. So I created this new-shape model and decided to discontinue the single-cutaway design.”

That "new shape" was a double cutaway with a pointed tip. This design, later known as the SG ( short for Solid Guitar ) shape, is clearly a guitar that would have been a huge success by today’s standards, but it’s a testament to the fact that Ted McCarty, who made this bold move at the time, was a genius with incredible foresight.

Subsequently, Les Paul, who had an endorsement contract with the company, did not like the new guitar shape and terminated his endorsement contract around 1963. As a result, the guitars, which could no longer bear the Les Paul name, were renamed “ SG.”

1961– (SG-shaped Les Paul) The tuners installed on the SG ( Les Paul ) models from 1961 onward were Kluson “ 320VP ” models, but they featured a “two-knob” design with two rows of knobs at the base. The metal cover bore the “ Klusen Deluxe ” logo in a single row, and these are referred to as “ two-knob, single-row Klusons.”

Around 1963– (SG)Later, around 1963, the design was changed to the “two-knob, single-row Kluson,” featuring a metal cover with the“Klusen Deluxe”logo arranged in two rows.

1968 (The Resurrection of the Les Paul) Time passed, and in 1968, the Les Paul made its comeback at a trade show in Chicago.

Although Gibson’s electric guitar sales had declined since the end of Les Paul production, there was still strong demand and market activity for the discontinued single-cutaway Les Paul. Les Paul himself was keenly aware of this trend, and with a renewed contract with Gibson and new ideas, a new Les Paul model was brought back.

1968 (Revival) The tuners used here were Kluson “ 320VP ” models, the same as those used on the standard models at the time. These tuners feature two knobs at the base ( commonly known as “2-knob” ) and the “Klusen Deluxe ” logo engraved in two rows on the metal cover, earning them the nickname “ 2-knob, 2-row Klusons.”

The Custom model uses the Kluson “501VP” (waffle pegs), just as it did back then.

Schaller M6 machine heads

Gibson used a wide variety of tuners. There are many types of Kluson tuners alone, and many Grover pegs were also manufactured specifically for Gibson.

In 1976, Gibson, like Fender before it, began using Schaller tuners. Schaller tuners were used in guitar products across many industrialized nations, transcending national borders and currency differences.

P eg Knobs

*The part you touch when turning the peg

Peg Post ( Shaft )

*The part where the string is wound

Peg Worm

*The shaft with the knob that forms the gear mechanism

Peg bushing

*Inserted into the main body when attaching the peg to prevent interference with the wooden parts

Peg bushing nut

* For pegs that do not use a bushing on the main body, tighten the nut onto the peg body from above to secure it

Peg Cover

* A cover that covers the gear section

Worm Wheel

*The part that meshes with the peg shaft to form a gear

Pegs using the original bushing nut

Original holes visible where the tuning pegs have been replaced

The nut is engaged and locked in place

The nut is not engaged and is not secured

Many people purchase vintage guitars for specific purposes, and while originality is important in determining a vintage guitar’s value, these instruments often come with issues such as bent shafts that make tuning difficult, grease inside that has hardened and makes turning the tuner difficult, or stripped screw holes that cause the tuner to wobble.

In such cases, there is absolutely no problem with replacing the tuners with new ones while preserving the original parts.

In fact, many owners of Gibson Les Paul Sunburst guitars from1958to 1960 —commonly known as “Bursts”—especially those who own a 1959 Burst and actually play it, find that the original tuners have shrunk and are virtually unusable.

The Kluson and Grover tuners introduced here are often found as original equipment, but they are also frequently replaced. Just as German-made Schaller tuners were used by manufacturers worldwide in the 1970s due to their precision and quality craftsmanship, today Japan’s GOTOH manufactures many of these tuners and is taking the world by storm.

Am I the only one who feels a sense of pride whenever I see vintage guitars on stage, their original tuners replaced with those from Goto Guitars Co., Ltd.—a company that represents Japan, the land of craftsmanship?